New York Magazine (Vulture)'s Scores

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For 3,960 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Hell or High Water
Lowest review score: 0 Daddy's Home 2
Score distribution:
  1. Positive: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. Chronicle
    Indeed, to even call Josh Trank's film a superhero movie seems wrong: Rather, it's about what the average teenage boy might actually do with superpowers - and there is very little heroism or villainy on display here. Chronicle's very lack of scope is its strength.
  2. The Woman in Black
    There is one nice pop-up scare against a dozen or so false, ineffectual ones - a poor percentage. As the title states, she is a woman and wears black, but she might as well be a hastily decked-out script girl for all her impact.
  3. Big Miracle
    The film bulldozes any genuine nuance or insight or even emotion in exchange for ready-made plot points and by-the-numbers catharsis.
  4. In Darkness
    In outline, In Darkness is a standard conversion melodrama, but little within those parameters is easy. The darkness lingers into the light.
  5. Perfect Sense
    You've got to make room in your heart for a film in which the world ends with neither a bang nor a whimper but a cuddle.
  6. Kill List
    The final twist is both baffling and repulsive, but as an evocation of the triumph of evil, it's peerless.
  7. The Innkeepers
    A poky but blood-freezing throwback to the gothic horror films of the seventies, when ingénues moved tremulously down dark corridors without holding digital video cameras.
  8. The Grey
    Neeson's gravity elevates the action, and there's a fine, prickly performance by an actor new to me, Frank Grillo, as the asshole of the group. But The Grey, despite moments of sublimity, is as predictable as a funeral. When Ottway angrily calls out to God, the nonanswer is sadly redundant.
  9. Haywire
    Soderbergh tends to get one big idea - a thesis idea - per film and stick with it even when a touch more flexibility would help. Here it's that non-kinetic camera, which he's so wedded to that parts of the film seem underenergized, like a cheap seventies or early eighties picture you'd catch at two in the morning on Cinemax's tenth most popular channel.
  10. Albert Nobbs
    The performance is extraordinary, literally: Close resembles no man I've ever seen, or woman either. She's the personification of fear - the fear of being seen through, seen for what she is.
  11. Underworld: Awakening
    Anyway, "Children of Men" this ain't, though the inert directing of Len Wiseman (who helmed the first two films and has a producer credit here) has thankfully been replaced by Mans Marlind and Bjorn Stein, who seem to have a lot more verve and even some visual whimsy.
  12. Red Tails
    For all the occasional grace of its high-flying derring-do, Red Tails barely feels like a movie. It's an uncertain hodgepodge of impulses and desires that never coheres enough to even crash and burn.
  13. Joyful Noise
    A Joyful Noise overcomes. The big numbers are a gospel-pop-funk fusion that made me think, Hmmm, this seems very processed - before I noticed my feet were tapping of their own accord. How can you resist that wah-wah funk guitar?
  14. Contraband
    The result is that rare Hollywood genre film that earns its intensity rather than forcing it upon you.
  15. The Devil Inside
    It has been a long time since I've heard people - many people - distinctly yell, "Boo!" Usually they just growl or moan or hiss. They don't bother actually to articulate the word "Boo!" I second their statement. The ending reeks.
  16. A Separation
    What makes it so good is that no one is bad. These humans, desperate to do right, are caught up in a perfect storm of inhumanity. The evil is in the ecosystem.
  17. The Iron Lady
    Shallow but satisfying, largely because of Meryl Streep and her big fake English teeth and gift for using mimicry as a means of achieving empathy.
  18. The Muppets
    It may not entirely work as a movie, but The Muppets shines as a piece of touching pop nostalgia.
  19. Rampart
    As Brown becomes more flagrantly self-destructive and at the same time more deluded, you realize you're watching "Bad Lieutenant" made by a tediously finger-wagging Jew instead of a tediously desecrating Catholic.
  20. A Dangerous Method
    That wordiness coupled with Cronenberg's classical restraint is part of the splendid Freudian joke at the movie's center.
  21. Shame
    McQueen films his characters like specimens in a jar, but the stakes are so high that the actors deliver.
  22. Outrage
    Even when a guy is getting stabbed in the ear with a chopstick, Outrage is so controlled you're liable to go mad watching it. Somehow both stifling and beautiful, it's the Salo of Yakuza pictures.
  23. Sleeping Beauty
    Novelist-turned-director Leigh's dryly efficient style is perched between the matter-of-fact and the impossibly arty.
  24. The Sitter
    The Sitter feels slapdash and quick, but you might not want to have it any other way.
  25. Young Adult
    The movie spreads bad vibes like a virus.
  26. Sherlock Holmes: A Game of Shadows
    The only reason to put yourself through Guy Ritchie's overblown, inelegant Sherlock Holmes: Game of Shadows is to see Jared Harris, who plays Professor Moriarty, in a chilling low key.
  27. Mission: Impossible - Ghost Protocol
    The movie is wonderful, nonsensical fun.
  28. Carnage
    A scabrous, amusing, and thoroughly predictable exercise in exposing the animalistic underbellies of grown-ups pretending to be civilized liberals.
  29. We Bought a Zoo
    Cameron Crowe is a romantic bordering on utopian, and his authentic family values - biological and surrogate - shine through in his enchanting We Bought a Zoo.
  30. Extremely Loud and Incredibly Close
    But the question hangs: Does this artificial, three-hankie scenario justify its 9/11 appropriations? Dry your eyes and decide for yourself.
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